International Journal of Latest Trends in Engineering and Technology Vol.(8)Issue(3), pp.091-099 DOI: http://dx.doi.org/10.21172/1.83.012 e-ISSN:2278-621X PHILOSOPHY, DESIGN BATIK YOGYAKARTA, AND BATIK SURAKARTA MADE IN INDONESIA Medina Diyah Kusumawati1 and Endang Ruswanti Hartowiyono2 Abstract, if a person, including personal batik enthusiasts mingin then we know the various issues related to batik. From how to search for information, buy a variety of batik, the current developments. It is necessary that we have a broad knowledge about batik, but often forget the most important part of the philosophy and meaning of the image etched on the fabric. Batik is an art craft that has high artistic and have become part of Indonesian culture, especially Javanese kingdom. Batik was originally only used and produced by the kingdom and the environment. Fabric produced batik art reserved for the clothes of the king, the royal family and its employees. After batik art to the general public began to be developed around the royal Yogyakarta, then batik began to be marketed around the kingdom. Batik is not just artistic painting is inscribed on a fabric by using a tool such as batik with canting to include wax or night. Many stories can be extracted from a piece of batik cloth, because the motive or design drawn on a piece of batik cloth always has a hidden meaning and different. Keywords: Philosophy, Design Batik Yogyakarta, Surakarta Batik in Indonesia I. INTRODUCTION Batik has long been known as the cultural heritage of the archipelago, an great nation is a nation that respects the culture, many cultural heritage of Indonesia, one of which is a batik cloth. For centuries the world know batik comes from Indonesia. On 28 September 2009 the United Nations Education Scientific and CultureOrganisation (UNESCO) stated that batik is one of the cultural heritage of native Indonesia. On October 2, 2009, UNESCO established that batik as one of the World Cultural Heritage produced by Indonesia (Herawati, 2010). As the next generation there isnoble culture alreadyrightly protected, conserved and make batik as part of the nation's character. Indonesia is obliged to promote batik to the world to be better known and loved. Culture and the arts have a flexible nature. Art evolved throughout history to obtain input and to absorb a variety of external environmental influences. Batik initially function as clothing materials, either in the form of scarves, headgear, long cloth or sarong, is still functioning as clothing materials. However, due to the rapid development of batik era is now experiencing growth becomes more widespread, both form and function. This occurs because of an attempt was made to create a new form in its development process. Culture inherited ancestor has high artistic value and the identity of the Indonesian nation. Each work of art produced has meaning and philosophy were outstanding. Art is not an inanimate object, but something that can be felt by society beauty. Many things can be revealed from batik art, such as cultural background, beliefs, customs, nature and order of life, the natural environment, taste, skill levels. From time to time, people leave messages on the philosophy of batik works until now. Of meaning in works of art like this that make batik as a vehicle to inculcate noble values, prayer, hope, and expression of affection (Kartini, 2008). Culture develops a natural fit with the personality and follow the demands of the times. The specificity of batik is a level of 1 ESA Unggul University Jakarta Indonesia 2 ESA Unggul University Jakarta Indonesia Philosophy, Design Batik Yogyakarta, And Batik Surakarta Made In Indonesia 92 complexity that demands accuracy and patience are very high. Not in terms of image complexity, but rather on the process of multi-layered, in which is embedded a distinctive insights derived. It is this fact that makes batik so human, all the beauty came from the heart of man, the spirit of an irreplaceable by even the most sophisticated machine (Herawati, 2010). Batik industry in Indonesia indirectly have emerged since the batik tradition in the archipelago. Indonesian batik industry still exist today, even with the inauguration of the United Nations that batik is a genuine world cultural heritage of Indonesia, emerging new spirit to preserve and cultivate the batik cloth (Wulandari, 2011). Here is a short trip Yogyakarta batik motifs oldest classical batik comes from the environment Mataram kingdom. King Mataram named Panembahan Senopati in Plered, Imogiri, which is now located in the region of Bantul, Yogyakarta. After several breeds, the kingdom moved to Kartasura, then to Surakarta. In times of tensions between the nobility in the kingdom of the Netherlands agreed Giyanti agreement that split the kingdom into the kingdom of Surakarta and Yogyakarta Kingdom. After this agreement was signed in 1755, the lane of Keraton Yogyakarta begged all the works of batik in Solo kingdom moved to Jogjakarta (Anas, 1995). Since then, growing communities Yogyakarta batik craftsmen to meet the needs of the royal court and nobles. The tradition of making batik with natural dyes still continues today (Murtihadi, 1979). Javanese society is a society that subtle minds in attitude and uphold the social values and customs. By making batik art are indirectly will learn to be patient, with the emergence of creative and innovative. Batik is a beautiful work, the manufacturing process is difficult and takes a long time. Process from ideas then made a sketch drawing, design, drawing patterns, Mencanting, dyeing, finishing and melorot up to be a batik cloth. Batik motif has developed very rapidly. To achieve the motive of creative and innovative then take a stepthe following steps. (a) Reconciling traditional patterns of batik royal batik process pesisiran, and free modification for the sake of aesthetics. (b) Changing patterns of various types that come from regions in Indonesia, such as weaving Bali, Kalimantan, Papua, east Java (Isyanti, 2003). (c) the designers Indonesia has developmeant batik by inserting ornaments from various tribes in Indonesia. (d) Rests on batik patterns kingdom rich in meaning and variety ornamental regionalism, staining the elements of batik patterns. Staining on the background was done by dye, while at the pattern in several colors done coletan or a combination of both means the discoloration (Wulandari, 2011). No the wonderful work that is created without their ideas and creativity. In line with the development of batik, the result in the spread is also growing. Indonesian Batik art can be found not only in Java, but extends other regions such as in Bengkulu, Cirebon, Jakarta, and Palembang. Although Yogyakarta and Surakarta Javanese batik has many similarity when seen visually actually have differences, especially on motives that are owned and basic colors. In terms of background color has a dominant Surakarta batik is sogan or yellowish brown. While Yogyakarta has a dark background color or black and white with light brown or indigo ornament. Meanwhile, if viewed from Surakarta batik motives more delicate, feminine and evolve freely. Mean while, Yogyakarta batik motives which give the impression of masculine assertive with the development of the set. In user mode Surakarta batik tend to open and unique, while the Yogyakarta batik arranged in various levels. While the prohibition of different motifs, motif ban on such Surakarta batik Udan Riris, Modang, and Cemungkiran. While in Yogyakarta batik had several motives including Sawat, Gurdo, and Parang Gurdo. Meanwhile the main motif, the motif that can be identified or marker origin motif fabrics, batik Yogyakarta has some kind, such as Parang, Gurdo, and Kawung (Hamzuri. 1985). But in Surakarta batik does not have any kind of leitmotif. The difference appears between Yogyakarta and Surakarta batik. Batik Yogyakarta is famous for three main motives, namely a machete, Kawung, and Gurdo. The motive is the motive most typical Yogyakarta. Surakarta batik whileGurdo have no motive, but motive machete. This motif also has differences with batik Yogyakarta, Surakarta motifs Parang motif has additional specific ornaments, not just pure machete alone. Basically motif consisting of two namely geometric motifs and non-geometric motifs. Non-geometric motif has a characteristic motif or pattern that is not uniform and can vary from one side to the other side (Darsono, 2004). While geometric motifs have a neat arrangement, arranged and aligned facet is what will distinguish motif Jogyakarta and Surakarta in the values of the philosophy Medina Diyah Kusumawati and Endang Ruswanti Hartowiyono 93 contained in any scratches chanting. Batik Yogyakarta is one of the few Indonesian batik was originally created limited the royal family alone. Each motif embodied in scratches canting on batik cloth Jogyakarta is full of history with meanings and stories. This is what distinguishes batik batik Jogyakarta with others, in keeping batik Jogyakarta it has the exclusivity of a masterpiece of art and culture of Indonesia. The development of batik as a fashion trend among many parties, both for parents and young children. A variety of professions and economic background, the more smooth the appearance of modern batik motifs (Singgih, 1990). One often gets the spotlight is the motif Jogyakarta. Batik Yogya is basically a background or style batik with white base. This research using qualitative analysis (Suharsimi, 2006). 1.Batik Kawung Motif The floral motif of palm trees, batik Kawung rectangular geometric shapes cognition in Javanese culture symbolizes a doctrine of the human life. At first batik kawung used among the royal family, but after the establishment of the kingdom of Mataram batik kawung divided into two styles, is subject to different segments of society. Surakarta has kawung motif used by groups Punokawan and Abdi dalem priyantaka parallel, in the puppet characters, kawung motif is used by Semar, Gareng, Petruk and Bagong (Indah, 1985).